Pirates of the Caribbean 2 & 3 Pirates of the Caribbean:
Dead Man's Chest
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page 64
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At the same time, he says, "I thought there was nothing wrong with using the colors from that medieval period."
A few hours after finishing "The Da Vinci Code" at 4 in the morning, he began writing the score for "Pirates of the Caribbean: Dead Man's Chest."
To make the deadlines more bearable, Zimmer has built for himself an
exceptionally cozy recording complex in Santa Monica.
Sitting down at the keyboard where he works out "temp" scores, the
wispy-haired maestro glances at the video monitor freeze-framed on "Pirates
of the Caribbean" star Johnny Depp.
"This morning I'm in the shower and I suddenly realized that what I wrote yesterday for the opening of 'Pirates' is complete garbage," he says. "I have a much better idea, so I dived in here a few hours ago and got rid of all the notes and started redoing everything."
With "Da Vinci Code" behind him, Zimmer turned his attention to "Dead Man's Chest," which brings him to the task at hand. Swiveling to face the video screen perched above his keyboard, Zimmer fast-forwards to a sequence that begins with an octopus-like appendage darting above the surface of the sea.
" 'Sea monster rising from the deep' has been done quite successfully by many people," he says, "the most successful being 'Jaws.' "
Trying to find a novel tack to the familiar scenario, Zimmer says, "I thought, 'Hang on: Sea monster is tied to Davy Jones, so let's have a look at him."
Zimmer checked out pictures of the villain, played by Bill Nighy.
"I took one look at him and thought: biker gang! Once that thought popped into my head, the music started to develop from this slightly different slant. That's the whole point; each time out you've got to reinvent the language a little bit or give it a twist."
"Dead Man's Chest" director Gore Verbinski, who previously used Zimmer on "The Ring" and "The Weather Man," says the film is all about "genre perversion."
"We need to celebrate the swashbuckling archetypes," he says, "but at the same time we want to warp and mutilate them."
Zimmer was happy to comply, spiking "Pirates" classic orchestrations with greasy synthesizer riffs.
"I rely on whatever makes the appropriate noise at the appropriate time.
Yes, it's appropriate on a pirate movie to have a horn section swaggering
about," he says, "but that doesn't mean that there isn't hidden away down
here" -- Zimmer plunks his finger on a key to produce a deep-pitched growl
evoking revved up Harleys -- "fuzz

Visit the POTC:DMC pages at IGN Filmforce and Rotten Tomatoes
If you or planning in visiting the Caribbean, you can discover more about travel there by visiting
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